Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from United States and from Portland.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Cairo.
I'm losing my edge to the art-school Tehran kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Human League practice in a loft in Sheffield.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Cabaret Voltaire to the jazz kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Erasure. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Pantytec record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Banda Bassotti,
Chrome,
Kevin Saunderson,
Metal Thangz,
Procol Harum,
Rowland S Howard / Lydia Lunch,
Jeru the Damaja,
New York Dolls,
Warren Ellis,
Nik Kershaw,
Henry Cow,
Sister Nancy,
Fluxion,
Steve Hackett,
The Mummies,
Funkadelic,
Pulsallama,
Technova,
Cluster,
The Slackers,
The Offenders,
The Velvet Underground,
Babytalk,
Marshall Jefferson,
Roxette,
Camouflage,
Crooked Eye,
Gerry Rafferty,
The Flesh Eaters,
Visage,
Gang of Four,
Outsiders,
Charles Mingus,
The Black Dice,
Amon Düül,
Eric Dolphy,
Toni Rubio,
Pierre Henry,
Maurizio,
Severed Heads,
Peter Gordon & Love of Life Orchestra,
Sun Ra,
Faust,
Minutemen,
The Barracudas,
The Gories,
Bluetip,
Notorious BIG live in Amsterdam,
Bob Dylan,
Grandmaster Flash and the Furious Five,
Barclay James Harvest,
Oblivians,
Masters at Work,
Marcia Griffiths,
Clear Light,
Niagra,
Traffic Nightmare,
Colin Newman,
The Angels of Light,
Massinfluence,
Gil Scott Heron,
Barry Ungar,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.